Gr 7 music teacher's guide

MUSIC TEACHING GUIDE 1: Music of Cordillera

I TARGET GRADE LEVEL: Grade 7

II MODULE 1: Music of the Cordillera

III TIME ALLOTMENT: 2 Hours

IV OVERVIEW OF THE MODULE

The lesson is an overview on the music of the Cordillera or the Highlands of Luzon where several
ethnolinguistic groups in the mountains of Cordillera live.. Through the lesson, one will discover how the
Cordillerans express their feelings towards each other and the environment, their history, and their
supernatural beliefs through the medium of voice and/or musical instruments. A group performance
inspired by examples of Cordillera music examples will culminate the educational experience.

V PERFORMANCE STANDARD

Analyzes musical elements and processes of Philippine music.
Correlates Philippine music to Philippine culture.
Performs examples of Philippine music, alone and with others, in appropriate tone, pitch,
rhythm, expression and style.

VI COMPETENCIES/OBJECTIVES
Analyzes an example of Philippine folk music from the Highlands and Lowlands of Luzon, and
describe how the musical elements are used.
Explains the distinguishing characteristics of representative Philippine folk music from the
Highlands and Lowlands of Luzon, in relation to history and culture of the area.
Analyzes the relationship of functions of Philippine music from the Highlands and Lowlands of
Luzon, to the lives of the people.
Sings accurately representative folk songs from the Highlands and Lowlands of Luzon, alone and
/ or with others.
Performs on available instruments music from the Highlands and Lowlands of Luzon, alone and /
or with others.
Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from
the Highlands and Lowlands of Luzon.
Explores ways of producing sounds on a variety of sources that would emulate the instruments
being studied.
Evaluates music and music performances applying knowledge of musical elements and style.

VI PRIOR SKILLS & ASSESSMENT – (Formative Assessment of Grade 6 aptitude)

MUSIC Grade 7 Teacher’s Guide 1

VII CONTENT/TOPIC

Music of Cordillera
Vocal Music – Hudhud (chanted epic poetry)
Instrumental Music- Bamboo Stamping Tubes (Tongatong), Bamboo Pipes in a Row (Saggeypo),
Bamboo Buzzers (Bungkaka), Bamboo Jew’s Harp (Kubing), Patteteg (Bamboo Leg Xylophones),
Gongs (Gangsa Topayya and Palook)
Cultural Context (History and Traditions) – Apayao, Bontok, Ibaloi, Ifugao, Kalinga, Tingguian
Composition: Chanted epic poetry, Dances
Social Functions: Music for Worship and Rituals, Work (Planting)
Performance Styles / Techniques
a. CONCEPT MAP

•Geography: •Types
Cordillera (Vocal, Instrumental)
Administrative
Region, Rice Terraces

Socio-
Musical
historical
Forms
Context
The Music of Cordillera

•Ancestral domain Issues Musical
•Functions
vs. State Policies Context (Work, Leisure,
•Manual vs. Worship, Ritual)
Machine-
processed
farming
•Militarization
•megatourism

b. ACTIVITIES & STEPS/ PROCEDURE –

1. Present the K-W-L chart to the students and instruct them to fill up the K and W portions.
2. Show the video from http://www.youtube.com/watch?v=zv9mc5JNeg4, a short animation on
the Hudhud hi Aliguyon. Ask the students about their insights regarding the short animation
(where they think the story comes from and what they think the story is about)
3. Show a map from http://www.cpaphils.org/cordillera/cordimap_pol.htm. Showing the second
map from http://www.cpaphils.org/cordillera/cordimap_res.htm, tell them the Cordillerans way
of life. See http://www.cpaphils.org/cordillera.htm and
http://www.unesco.org/culture/ich/index.php?RL=00015 for more information and visual aids
(pictures and videos).


4. Show the video “Hudhud hi Aliguyon (Hudhud Chants of Ifugao)” from
http://www.youtube.com/watch?v=sRu0F_LGP9I. Explain the content and prestige accorded to
the Filipinos due to this intangible heritage from the Cordillera region. The Hudhud , a chanted
epic poetry consisting of poems about heroism, honor, love, and revenge, was declared in 2001
by the UNESCO a Masterpiece of the Oral and Intangible Heritage of Humanity.
5. Ask the students how the video that was shown, reflects the way of life of the Cordillerans.
Based on the lecture given in step 2 and the video in step 4, ask the students to fill up the
concept map.
6. Group the students into six members per group. Have them write a short poem of 8 lines and
compose a melody (chant) to the poem..
7. Assign an instrument to each group. Have them listen to it and answer the guide questions as
they listen:

a. What instrument was used in this particular music? What is the function of this music
in society?

b. Describe the instruments used. What is the instrument made of? How was the music
performed? What environmental materials in the classroom may serve as substitutes
for these instruments?

c. How were the varied musical elements (timbre, dynamics, rhythm, pitch, form) used in
bringing about the message of the music?

8. Explain the rubrics for evaluation (performance and instrument construction). Allot time for
making instrument substitutes and music practice. Give feedback regarding group practice.
9. Have the students introduce their poem and instrument assigned to them and perform the
music by group first their own Hudhud then their instrumental music using improvised
instruments.
10. Evaluate the group performance using performance rubrics.
11. Sum up what has been learned using the K-W-L chart (What I know, What I want to know and
What I learned about the music of Cordillera).
12. Synthesize the lesson by having the students relate their answers in the K-W-L chart with that of
the Synthesis part (see module).

VIII SUMMATIVE ASSESSMENT

Rubrics for Group Performance

Basic – Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing and dynamics.
Needs work on nuances with reference to style and context.
Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing and dynamics. Needs
work on nuances with reference to style and context.


Developing: Focused tone but inconsistent in the extreme ranges, some repeated errors in
rhythm , pitch and phrasing, discernible dynamic levels, some nuances as indicated in the music
score or as suggested by the teacher with reference to style and context.
Developing: Focused tone but inconsistent in the extreme ranges, some repeated errors in
rhythm , pitch and phrasing, discernible dynamic levels, some nuances as indicated in the music
score or as suggested by the teacher with reference to style and context.
Approaching Proficiency: Focused and clear tone in the normal ranges, isolated errors in
rhythm, pitch and phrasing, more obvious dynamic levels, with more nuances as indicated in
the score or as suggested by the teacher with reference to style and content.
Proficient: Focused and clear tone throughout the piece, accurate rhythm and secure pitch,
consistent and sensitive phrasing, and well-defined dynamic levels, with creative nuances as
indicated in the music score or as suggested by the teacher with reference to style and content.
.

Rubrics for Designing an Instrument Substitute

Basic: Inappropriate; Messy and incomplete materials; Sound quality lacks similarity with that
of the original instrument..
Developing: Most materials appropriate; Decorated but messy; Neat but fragile; Sound
quality somewhat similar but not exactly similar to that of the original instrument.
Approaching Proficiency: Appropriate materials; Decorated, neat; Sound quality almost similar
to that of the original instrument
Proficient: Appropriate and creatively modified materials; Decorated within the context of the
instrument; Neat and Durable; Sound quality most similar to that of the original instrument

IX RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN WEBSITE

Readings:
http://www.cpaphils.org/cordillera.htm
http://www.koleksyon.com/filipinoheritage/phil-music/pre-colonial-indigenous-music.asp
http://www.intangible.org/Features/kalinga/pages/page1.html (with audios and videos already)
http://www.unesco.org/culture/ich/index.php?RL=00015 (with audios and videos already)
http://www.unesco.org/bpi/intangible_heritage/phillipines.htm
Maceda, Jose (1998). Gongs and Bamboo. Quezon City: University of the Philippines Press.

Recordings:
Hudhud-
“Aliguyon the Animation”:
http://www.youtube.com/watch?v=zv9mc5JNeg4
“Hudhud hi Aliguyon (Hudhud chants of the Ifugao)”:
http://www.youtube.com/watch?v=sRu0F_LGP9I
Tongatong-
“1-10 Kalinga tongatong (bamboo stamping tubes)”:
http://www.youtube.com/watch?v=7PjFND2gFjo


Saggeypo-
“1-11 Kalinga saggeypo (bamboo pipes in a row)”

Bungkaka-
“1-08 Kalinga bungkaka (bamboo buzzers)”:
http://www.youtube.com/watch?v=lb_gKCSLDu0
Kubing-

Patteteg-
“1-07 Kalinga patteteg (bamboo leg xylophone):”

Gangsa-
“1-02 Kalinga gangsa topayya (flat gongs played with the hands)”:
http://www.youtube.com/watch?v=0HrbFjYbMiE
“1-01 Kalinga gangsa pattung/palook (flat gongs played with sticks)”:
http://www.youtube.com/watch?v=n8azfI8CLbQ

X GLOSSARY OF MUSIC TERMS & SYMBOLS
1. Hudhud (chanted epic poetry)
2. Tongatong (Bamboo Stamping Tubes)
3. Saggeypo (Bamboo Pipes in a Row)
4. Bungkaka (Bamboo Buzzers)
5. Kubing (Bamboo Jew’s Harp)
6. Patteteg (Bamboo Leg Xylophones)
7. Gangsa Palook(Gongs played with sticks)
8. Gangsa Topayya (Gongs played with hands)


MUSIC TEACHING GUIDE 2: Music of the Lowlands of Luzon 1: Music for Liturgay and Devotional
Music


II MODULE 2: Music of the Lowlands of Luzon 1



The lesson is an overview on the music of the Lowlands of Luzon, particularly on the Music for
Liturgy and Devotional Music.. The Lowlands of Luzon consist of several ethnolinguistic groups..
Throughout the lesson, one will discover how the people of the Lowlands of Luzon express their feelings
towards each other and the environment, their history, and their religious beliefs through voice and
musical instruments. A group performance inspired by the Lowlands’ musical examples will culminate
the educational experience.



Analyzes an example of Philippine music from the Highlands and Lowlands of Luzon, and
/ or with others.
or with others.
being studied.

VI PRIOR SKILLS & ASSESSMENT – (Formative Assessment of Lesson 1: Module 1-2)


VII CONTENT/TOPIC
Music of the Lowlands of Luzon 1: Music for Liturgy and Devotional Music

Vocal Music – The Mass; Pastores; Moro-moro/Komedya; Senakulo and Pabasa ng Pasyon;
Salubong; Flores de Mayo and Santacrusan
Instrumental Music- Las Pinas Bamboo Organ
Cultural Context (History and Traditions) – Spanish colonisation, Christianity and Catholic
religion,
Composition: Songs, Dances, Instrumental music
Social Functions: Music for Worship and Religious festivities
Performance Styles / Techniques: Tiples, Neumes

c. CONCEPT MAP

• Geography: Luzon • Mass
Lowlands • Vocal forms
• Spanish colonisation: • Instrumental: Las Pinas
1565-1898 Bamboo Organ
Socio-
Musical
historical
Forms
Context
Music for Liturgy and Devotional Music
MusicMusicReligious Music influenced by
the Spanish
Musical
Issues
Context
• Religion • Worship
• Preservation of • Feasts
culture

d. ACTIVITIES & STEPS/ PROCEDURE –
13. Have the students write the K-W segment of the K-W-L chart.
14. Then, have the students read the phrases in Latin (The Mass). Ask if anyone of them is familiar
with these lines. Fill up the chart as a class.


Latin Filipino English
1. Kyrie 1. Panginoon, Maawa Ka 1. Lord, have mercy
2. Gloria 2. Papuri sa Diyos 2. Glory to God
3. Credo 3. Sumasampalataya 3. Creed
4. Sanctus 4. Santo, Santo 4. Holy
5. Agnus Dei 5. Kordero ng Diyos 5. Lamb of God

15. Explain to the students that these are prayers that are sung in the Mass. Ask the students who
among the three colonizing countries introduced Christianity to the Filipinos.
16. Show a picture of the church and the Spaniards’ colonisation. Ask the students’ thoughts about
this.
17. Play “Gloria from Pequena Misa Solemnis (http://www.youtube.com/watch?v=j8aTQhio9Pc).”
After listening to the music, inform l the students that this particular Gloria was composed by a
Filipino, Marcelo Adonay: the greatest composer of original liturgical music during the Spanish
period.
18. Inform the students that during the Spanish period, young boys used to sing for the mass and
they were called tiples. Play Canticorum Jubilol/Da Pacem Domine (performed by Tiples de Sto.
Domingo, CCP) http://www.youtube.com/watch?v=EFFnWd3GHmA.
19. Show the video of the Las Pinas Bamboo Organ (Bamboo Organ
http://www.youtube.com/watch?v=uv2y_goeYxE) and tell the students about it. You may visit
http://www.nhi.gov.ph/downloads/ca0002.pdf , http://bambooorgan.org,
http://bambooorgan.org/home.htm, and http://www.bambooman.com/bamboo_organ.php for
more details. Assign “I am Proud to be Filipino: The Las Pinas Bamboo Organ” as homework.
20. Show the remaining videos to the class. Ask the students to fill up the concept map, based on
how the music reflected the way of life of the people of Lowland Luzon.
21. Group the students into five members per group and assign one clip from the video recordings
in the resources section of the module. Have them answer the guide questions as they watch:

a. What is the function of the music? What message does it convey? During which
particular occasion is this heard?

b. Describe the voice quality used. How was the music performed? Was it effective in
bringing about the message?



22. Discuss the rubrics for evaluation (performance and instrument construction). Allot time for
music practice and costume and/or props making. Give feedback regarding group practice.
23. Have the students introduce the music tradition assigned to them and perform the music by
group.
25. Summarize what has been learned using the K-W-L chart (What I know, What I want to know
and What I learned about Music for Liturgy and Devotional Music of the Lowlands of Luzon).
26. Have the students relate what they have written in the K-W-L chart with the Synthesis segment
of the module.



Basic –

Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics and shows little or no
indication of style and context;

Shows no effort in coming up with improvised costumes and/or props

Developing –

Focused tone but inconsistent in the extreme ranges, some repeated errors in rhythm, pitch, consistent
phrasing, discernible dynamics, and some nuances in style as suggested by the score/teacher.

With some improvised costumes and/or props but are inappropriate to the music

Approaching Proficiency –

Focused and clear tone in the normal range, accurate rhythm and secure pitch with isolated errors,
accurate and consistent phrasing, accurate dynamics, with some nuances in style as suggested by the
score/teacher.

With some improvised costumes and/or props but are inappropriate to the music

Proficient –

Focused, clear tone all throughout, accurate rhythm and secure pitch, consistent and sensitive phrasing
and obvious dynamics, with creative nuances in style as a response to the music score

With improvised costumes and/or props that are used appropriately to the music



Readings:
Mirano, Elena Rivera.(1992). Musika An Essay on the Spanish Influence on Philippine Music. CCP Special
Publications Office.
http://www.nhi.gov.ph/downloads/ca0002.pdf
http://www.himig.com.ph/features/49-marcelo-adonay
http://bambooorgan.org
http://bambooorgan.org/home.htm
http://www.bambooman.com/bamboo_organ.php

Recordings:
Gloria from Pequena Misa Solemnis (composed by Marcelo Adonay, performed by Novo Concertante)
http://www.youtube.com/watch?v=j8aTQhio9Pc

Canticorum Jubilol/Da Pacem Domine (performed by Tiples de Sto. Domingo, CCP)
http://www.youtube.com/watch?v=EFFnWd3GHmA

Bamboo Organ
http://www.youtube.com/watch?v=uv2y_goeYxE

Pastores, A Waray Christmas Tradition
http://www.youtube.com/watch?v=tBxZaiD0roU

Panunuluyan (Maytinis)
http://www.youtube.com/watch?v=3mqMSFv5S3c&feature=related

Komedya Ilokana by Ed Antonio
http://www.youtube.com/watch?v=Fsw_z0-JW3Y

Inay (Senakulo 2010)
http://youtu.be/KdbqViEEuGU

Philippine Pasyon (Passion of Christ)
http://www.youtube.com/watch?v=WOeIbLIV0L4

Salubong 2010: Sta. Maria, Bulacan
http://www.youtube.com/watch?v=XnHNCdjIwoE&feature=related

Dalit a Pakibat – Dalit 71 “Dalit at Pangadi na ning Metwat’ Mebyasa keng Ginu”
http://www.youtube.com/watch?v=0abuN_bKAQA

Flores de Mayo 2009 Dios te Salve Minalin amanuningbie.com
http://www.youtube.com/watch?v=MPY6hIAnuQE


9. Marcelo Adonay (premiere composer of original Filipino liturgical music, the Palestrina of the
Philippines)

10. Tiples (boys choir)

11. Pastores (Christmas songs)

12. Panunuluyan ()

13. Sinulog ()

14. Komedya ()

15. Senakulo ()

16. Pasyon ()

17. Salubong ()

18. Dalit ()

19. Flores de Mayo ()

20. Santa Cruzan ()


MUSIC TEACHING GUIDE 3: Music of the Lowlands of Luzon 2: Spanish Influence in Secular Music





The lesson is an overview on the secular music of the Lowlands of Luzon as influenced by
Spanish culture and music. Through the lesson, one will discover how the lowland Filipinos, through
Spanish-influenced dance music and art songs express their feelings towards each other and the
environment, their history, and their religious beliefs through voice and musical instruments. A group
musical theatre performance of the songs and dances with an accompaniment on found objects and
instruments of the rondalla will culminate the educational experience.



/ or with others.
or with others.


being studied.

VII CONTENT/TOPIC

Folk Music of the Lowlands of Luzon
Vocal Music – Harana and Kumintang(song of varied topics), Polka (Leron-Leron Sinta,
Pamulinawen)
Instrumental Music- Pandanggo (Pangasinan), Polka (Tagalog, Ilocano) , Rondalla
Cultural Context (History and Traditions) – Spanish colonisation, Catholic religion
Composition – Kundiman (art songs); Instrumental music
Social Functions: Music for Festivities and Recreation, Work (Planting and Farming), Courtship,
Social Commentary and Patriotism
Performance Styles / Techniques : Use of the Plectrum


VIII PRIOR SKILLS & ASSESSMENT – (Formative Assessment of Modules 3-4)
Short recitation on: What are the sacred vocal music and instrumental music forms that were
influenced by the Spanish era in the Philippines? Describe each in terms of music elements,
cultural context, and social function.
e. CONCEPT MAP

•Geography: Lowland •Types
Luzon (Region (Vocal, Instrumental:
I, II, III, IV inland, V) Folk, Composed)
•Barrio vs. City

Socio-
Musical
historical
Forms
Context
Hispanic –influenced Secular Music

Musical
•Social Issues
commentaries
Context •Functions
(Work, Festivities
•Declaration of and
Love for a Recreation, Court
person ship, Social
•Patriotism Commentary)

f. ACTIVITIES & STEPS/ PROCEDURE –
27. Ask the students to take a look at the pictures in their worksheet and describe the pictures.
Impress upon the students that the Filipinos, way back, were already romantics, with their
very musical way of expressing their love.
28. Show the map to the students and ask them to identify the provinces of the Lowlands of Luzon.
29. Play the audio of the vocal forms (see links). Ask the class to listen to and analyze the lyrics of
the songs. Use the following questions as a guide to listening:
a. What is the function of the music? What do you think is the message of the music? In
what specific occasions is it used?
b. How were the varied musical elements (timbre, dynamics, rhythm, pitch, form) used in


30. Tell the students that some vocal forms have instrumental counterparts. Have t them listen to
the recordings of the rondalla (and guitar orchestra). Discuss the origin and the instruments of
the rondalla ensemble.
31. Have them answer the “How well do you know your Rondalla?” part as an enrichment activity.
32. After the listening session, have the students complete the concept map on Hispanic-influenced
secular music.
33. Group the students into five groups and assign one song to each group (harana, kundiman,
kumintang, polka (leron, leron sinta and pamulinawen). Ask them to prepare for a short skit
(about 5-7 minutes long) set in the Spanish era, incorporating the music assigned. There may be
a musical accompaniment on any instrument of the rondalla and/or improvised musical
instruments.
34. Discuss the rubrics for evaluation. Allot time for practice. Give feedback regarding group
practice.
35. Have the students introduce the music assigned to them and perform the music as a group.
and What I learned about Hispanic-influenced secular music).
of the module.



Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics and
shows insensitivity to style and context
Developing: Focused tone but inconsistent in extreme range, some repeated errors in rhythm
and pitch, consistent phrasing, discernible dynamics, some nuances in style as suggested by the
score/teacher.
Approaching Proficiency: Focused and clear tone in normal range, accurate rhythm and secure
pitch with isolated errors, accurate and consistent phrasing, accurate dynamics, with some
nuances in style as suggested by the score/teacher.


Proficient: Focused, clear tone all throughout, accurate rhythm and secure pitch, consistent and
sensitive phrasing and obvious dynamics, with creative nuances in style as a response to the
music score.


Readings:
Baes, Jonas. Westernized Musical Traditions in the Philippines. http://www.ncca.gov.ph/about-culture-
and-arts/articles-on-c-n-a/article.php?igm=1&i=162
Canave-Dioquino, Corazon. The Lowland Christian Philippines. Music Cultures and Regions.
Mirano, Elena Rivera.(1992). Musika An Essay on the Spanish Influence on Philippine Music. CCP Special
Publications Office.
Santos, Ramon P. Art Music Form. http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-
a/article.php?igm=1&i=147
Hiyas Philippine Dance Company. http://philippineculture.ph/filer/Hiyas-descriptions-of-dances.pdf
Doon po sa Nayon. http://www.seasite.niu.edu/Tagalog/Cynthia/dances/sa_nayon.htm
Rural/Barrio Suite. http://pw1.netcom.com/~ntamayo/folkdance.html (with audio)

Recordings:
Philippine Cultural Heritage “HARANA” http://www.youtube.com/watch?v=98HBr8HkIDA
Mutya ng Pasig- Conching Rosal http://www.youtube.com/watch?v=wF6-i-ROnXU
FilAm Veterans Rondalla in Newark CA. (Leron-leron Sinta)
http://www.youtube.com/watch?v=h2Meg05In_w
UPGO- Philippine Folk Song LERON LERON SINTA http://www.youtube.com/watch?v=fuF_sxZJ5MA
Pamulinawen- Music Notation http://www.youtube.com/watch?v=ZBiRSRJiWyE
Kundiman Mabuhay Singers (Jocelynang Baliwag- Kundiman)
http://www.youtube.com/watch?v=0fsBAarQO3g
Pandanggo sa Ilaw Instrumental- Philippine Folk Dance http://www.youtube.com/watch?v=EHKRilht39Y
Celso Espejo Rondalla – Magtanim ay di Biro (Planting Rice)
http://www.youtube.com/watch?v=keKTkl90FD4



21. Harana (Spanish ‘jarana’) – serenade; traditionally sung by a young man to a young woman
outside the young woman’s house as a profession of his love to her. usually accompanied by a
guitar.

22. Kumintang- originally a war song, this song in triple time can be of any topic: love, resentment,
or a social commentary. It can also be a dance or a combination of song and dance in this style.

23. Kundiman (kung hindi man) – an art song about the love of a man for a woman but can also be
about patriotic sentiments, the woman as an object of love and sacrifice of the man
representing the Philippines whose countrymen are willing to do sacrifices for freedom. It
usually starts in a minor key and then goes to the major key.

24. Polka- a lively dance in duple time.

25. Pandanggo- originating from the fandango of Spain, it is a fast-paced dance in triple time.
Usually, dancers use accessories such as hats and lighted candle in a glass

26. Rondalla- an ensemble of plucked instruments and sometimes with percussion

27. Bandurria- 14-stringed pear-shaped lute with a round sound hole and played with a plectrum, it
plays the melody in the rondalla ensemble.

28. Laud- 14-stringed pear-shaped lute with f-shaped sound holes and played with a plectrum, it
plays the alto part or counter melody in the rondalla ensemble. It is bigger than the bandurria.

29. Octavina- 14-stringed lute which is shaped like a small guitar and played with a plectrum, it plays
a counter melody or harmony fill-in in the rondalla ensemble.

30. Bajo de Uñas- a bass guitar which looks like a big guitar and is played by a plectrum. It plays the
bass part and serves as a rhythmic support.


MUSIC TEACHING GUIDE 4: Music of the Lowlands of Luzon 3: Philippine Music during the American
and Japanese periods





The lesson is an overview on the proliferation of musical genres, forms, and ensembles of the
Lowlands of Luzon during the American and Japanese periods. Through the lesson, one will discover
what forms and genres of music survived during the American and Japanese periods in the Philippines
and how these expressed the feelings of the people towards each other and the environment, their
history, and their religious beliefs. A group performance of sarswela airs will culminate the educational
experience.



/ or with others.


or with others.
being studied.

VII CONTENT/TOPIC

Folk Music of the Lowlands of Luzon
Vocal Music –Zarzuela (Danza, Balse)
Instrumental Music –Symphonic Band (Philippine Constabulary Band), Musiko Bumbong
Cultural Context (History and Traditions) – American and Japanese periods in the Philippines
Composition – Ang Maya (Jose A. Estella), Bituing Marikit (Nicanor Abelardo)
Social Functions – Music for Recreation, Social Commentary and Patriotism
Performance Styles / Techniques – Ensemble Playing


VIII PRIOR SKILLS & ASSESSMENT – (Formative Assessment of Modules 5-6)

Short recitation on: What are the secular vocal music and instrumental music forms that were
influenced by Spanish culture and music in the Philippines? Describe each in terms of music
elements, cultural context, and social function.

Concept Map: Using the readings and links given above, complete the concept map by writing details
regarding Philippine Music during the American and Japanese periods on the boxes.

•American and
Japanese periods in
the Philippines •Vocal Music (Sarswela)
•Instrumental Music
(Symphonic
Band, Musikong Bumbong)
Socio-
Musical
historical
Forms
Context
Philippine Music during the American and Japanese periods

Musical
•Resourcefulness as a Issues
good Filipino trait Context •Music for
•Patriotism Recreation, Social
Commentary, and
Patriotism

g. ACTIVITIES & STEPS/ PROCEDURE –
39. Ask the students to view the pictures in their worksheet and describe the pictures. Discuss that
the komedya and zarzuela, musical theatre forms, bear Hispanic traits but proliferated more in
the American and Japanese periods.
40. Discuss the zarzuela (you may use Tiongson’s A Short History of the Philippine Sarsuwela as a
resource) in depth then play two examples of art songs from two zarzwelas, Ang Maya, a
waltz/balse, and Bituing Marikit, a danza. Ask the class to listen to and analyze the lyrics of the
songs.Ask them to show the similarities or differences between the two in terms of tempo and
rhythm. Use the following questions as a guide to listening:
a. What is the function of the music? What do you think is the message of the music?


b. How were the varied musical elements (timbre, dynamics, rhythm, pitch, form) used in

41. Inform the students that there is also instrumental music during this time. Discuss about the
symphonic band (Philippine Constabulary Band).
42. Let them listen to the recordings of the old Philippine Constabulary Band (Philippine National
Anthem), Dahil Sa’ Yo by Banda 8 of Cardona, Rizal (a recent symphonic band, arrangement of
Mike Velarde’s danza by Maestro Amando San Jose), and the original Dahil Sa Iyo by the
Mabuhay Singers.
43. Then, lead the discussion on musiko bumbong and show the video of the Bamboo Marching
Band.
44. Have them answer the essay on musiko bumbong as an enrichment activity/homework.
45. Group the students into five groups and assign either of the two art songs to each group. Ask
them to rehearse singing it as a group. They may add actions and/or a musical accompaniment
on the guitar/or improvised musical instruments.
46. Discuss the rubrics for evaluation. Allot time for practice. Give feedback regarding group
practice.
47. Have the students introduce the music assigned to them and perform the music by group.
and What I learned about Philippine Music during the American and Japanese Period).
of the module.



score/teacher.


sensitive phrasing and obvious dynamics, with creative nuances to style in response to music
score.


Readings:

Canave-Dioquino, Corazon. Music Cultures and Regions. The Lowland Christian Philippines.

First-ever festival of komedya held in UP. (January 2008) UP Newsletter.
http://www.up.edu.ph/upnewsletter.php?i=590&archive=yes&yr=2008&mn=1.

Santos, Ramon P. Art Music Form. http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-

Influido de Espana. http://www.seasite.niu.edu/Tagalog/Cynthia/dances/spanish_influence_dances.htm

Santos, Ramon P. Music Cultures and Regions. Art Music of the Philippines in the Twentieth Century.

Santos, Ramon P. (1994) Musika. An Essay on the American Colonial and Contemporary Traditions in
Philippine Music. CCP Special Publications Office.

Santos, Ramon P. (2009-2010) Musika ng Zarzuela-Sarsuwela: Isang Pag-aaral sa Etimolodyi, Katangian
at Kahalagahan sa Isang Uri ng Paghahayag-damdaming Filipino. Philippine Humanities Review, vol.
11/12.

Talusan, Mary. Music, Race, and Imperialism: The Philippine Constabulary Band of the American Colonial
Era (research abstract). http://mtalusan.bol.ucla.edu/research.htm.

The Himig Collection features the Philippine Band Music. Himig: The Filipino Music Collection of the FHL.
http://himig.com.ph/features/23-the-himig-collection-features-the-philippine-band-music

Tiongson, N. (Ed.) (1994). CCP Encyclopedia of Philippine Art, vol. 6: Philippine Music. Manila: Cultural
Center of the Philippines.


Tiongson, N. (2009/2010) A Short History of the Philippine Sarsuwela (1879-2009). Philippine Humanities
Review, vol 11/12.

Recordings/Video:

ANG MAYA- (Kundiman) Conching Rosal http://www.youtube.com/watch?v=VUd3K4vqAgY

(VIDEO) Bamboo Marching Band http://www.youtube.com/watch?v=74pks6lbc4k

Dahil Sa’Yo (Banda 8 of Cardona, Rizal)
http://www.youtube.com/watch?v=60WaJ84xzlI&feature=related

DAHIL SA IYO (ORIGINAL VERSION) – Mabuhay Singers
http://www.youtube.com/watch?v=L6k_pvOFOgc

Kundiman: Bituing Marikit- Leopoldo Silos http://www.youtube.com/watch?v=sUmQY8JhX_M

Philippine National Anthem/ Bagong Pagsilang (MARTSA NG BAGONG LIPUNAN)
http://www.youtube.com/watch?v=vw_Gd24E3j8


31. sarswela – adapted from the zarzuela of Spain, this is a musical theatre form incorporating
singing and dancing, usually about love and/or longing for freedom

32. danza – a dance in duple time of Cuban origin

33. balse – waltz; a dance in triple time

34. symphonic band – an ensemble composed mostly of brass and woodwind instruments and
sometimes, include percussion instruments

35. Philippine Constabulary Band – symphonic band founded by Col. Walter H. Loving in October 15,
1902 and is famous for playing in the St. Louis Exposition in 1904

36. musiko bumbong – an improvised brass band ensemble whose instruments are made out of
bamboo


MUSIC TEACHING GUIDE 5: Music of Mindoro


II MODULE 5: Music of the Mangyan of Mindoro



The lesson is an overview on the music of the Mangyans, an ethnolinguistic-group of in
Mindoro. It is a discovery of how the Mangyans express their feelings towards each other and the
environment, their history, and their supernatural beliefs through voice and musical instruments. A
group performance inspired by the Mangyan musical examples will culminate the educational
experience.




Analyzes an example of Philippine folk music from Mindoro, Palawan, and the Visayas, and
Explains the distinguishing characteristics of representative Philippine folk music from Mindoro,
Palawan, and the Visayas, in relation to history and culture of the area.
Analyzes the relationship of functions of Philippine music from Mindoro, Palawan, and the
Visayas, to the lives of the people.
Sings accurately representative folk songs from Mindoro, Palawan, and the Visayas, alone and /
or with others.
Performs on available instruments music from Mindoro, Palawan, and the Visayas, alone and /
or with others.
Mindoro, Palawan, and the Visayas.
being studied.
VI PRIOR SKILLS & ASSESSMENT – (Formative Assessment of Quarter 1)

VII CONTENT/TOPIC: Music of the Mangyan of Mindoro


 Vocal Music – Igway (song), Marayaw (spirit song), Pamuybuyen (legend)

 Instrumental Music-Flute (Bangsi), Jew’s Harp (Subing), Lute (Gitgit), Gongs (Agong), Sticks
(Kalutang)

 Cultural Context (History and Traditions) – Oriental Mindoro North Mangyan group (Iraya,
Tadyawan, Alangan) and South Mangyan group (Batangan, Buhid, Hanunoo)

 Composition: Chanted Poetry, Songs (lullaby, spirit songs, narrative legends), Dances

 Social Functions: Music for Worship, Work, Sleep, Courtship

 Performance Styles / Techniques

h. CONCEPT MAP

•Geography: •Types
Mindoro, Mt. Halcon (Vocal, Instrumental)
•Kaingin

Socio-
Musical
historical
Forms
Context
The Music of Mindoro

Musical
Issues
Context
•Marginalization •Functions
of culture (Work, Leisure,
•Cultural Worship, Ritual)
preservation

i. ACTIVITIES & STEPS/ PROCEDURE –
51. Have the students write the K-W segment of the K-W-L chart. Then, have the students
to look at the figure then read and interpret what the words mean to them: (figure and
text from www.mangyan.org, Permission to use needed.)


If united we remain Kung buklod ay matibay
and our bond is strong and pure, Maayos ang samahan
you and I, far as we are, Ikaw nga at ako man
it's like holding hands again, Magkahawak ng kamay
it's like sitting side by side. Wari'y nasa kandungan!

52. Tell the students that the preceding example is from the Ambahan or chanted poetry
of the Mangyans of Mindoro.
53. Show a map from http://www.mangyan.org/system/files/images/mindoro-
ethnographic-map-thumb.jpg and tell them how the Mangyan have lived and practised
their way of life and culture. See http://www.mangyan.org/content/mangyan-groups,
or http://phch.eccmanila.org/tribal.html for more information and pictures.
54. Play several clips from Nostalgia from a Denuded Forest or any of the YouTube videos
in the resources section of the module. Tell the background of the clip before playing.
Pictures from Gongs and Bamboo by Jose Maceda can also be shown to supplement
the listening examples.
55. Ask the students how the music listened to or videos reflects the way of life of the
Mangyan. Based on the information given on steps 2 and 3, ask the students to
complete the Concept Map on Mangyan Music (Socio-cultural context, issues, musical
forms and musical context)
56. Group the students into five members per group and assign one clip from the musical
recordings in the resources section of the module. Have them answer the guide
questions as they listen:

a. What is the function of the music? What do you think is the message of the music?
b. Describe the instruments / voice quality used. How was the music performed? Was it
effective in bringing about the message? What instrumental substitutes can be used
using environmental materials present in the classroom?
57. Discuss the rubrics for evaluation (performance and instrument construction). Allot
time for making instrument substitutes and music practice. Give feedback regarding
group practice.
58. Have the students introduce the music assigned to them and perform the music by
group vocally or instrumentally using improvised instruments.
60. Summarize what has been learned using the K-W-L chart (What I know, What I want to
know and What I learned about the music of Mindoro).
61. Have the students relate what they have written in the K-W-L chart with the Synthesis
segment of the module.




score/teacher.
music score.

Rubrics for Designing an Instrument Substitute

Basic: Inappropriate; Messy and Incomplete materials,; Sound quality lacks similarity with
original instrumental timbre
Developing: Most materials appropriate; Decorated but messy; Neat but fragile; Sound quality
somewhat similar to that of the original instrument.
Approaching Proficiency: Appropriate materials; Decorated, neat; Sound quality more similar
to that of the original instrument
Proficient: Appropriate and creatively modified materials; Decorated within the context of the
instrument; Neat and durable; Sound quality most similar to sound quality of original
instrument.


Readings:
http://www.mangyan.org
http://phch.eccmanila.org/tribal.html
Maceda, Jose (1998). Gongs and Bamboo. Quezon City: University of the Philippines Press.

Recordings:
Nostalgia in a Denuded Rainforest (Jonas Baes, NCCA) – Recordings and Background Information on the
music of Iraya Mangyan.
(Mangyan instrumental music: bangsi/flute, subing/jew’s harp):
http://www.youtube.com/watch?v=JlT1C45zKPc
(ambahan): http://www.youtube.com/watch?v=_PPu89zCScI&feature=related
(Iraya Mangyan igway lullaby):
http://www.youtube.com/watch?v=WmRNuODRpkY&feature=mfu_in_order&list=UL


(Hanunoo lullaby): http://www.youtube.com/watch?v=WmRNuODRpkY&feature=mfu_in_order&list=UL
(Hanunuo kalutang/sticks): http://www.youtube.com/watch?v=raKyqAHrfTk&feature=related
(Hanunuo gitgit/fiddle): http://www.youtube.com/watch?v=NMyZ3K63E-M&feature=related
(Modern Mangyan song): http://www.youtube.com/watch?v=YTinJUZ5-UE&feature=related
(Mangyan Tigian Dance Ritual – a ritual done for the purpose of seeking truth and justice):
http://www.youtube.com/watch?v=O3wMRdJjkNc&feature=related

37. Igway (song)

38. Marayaw (spirit song)

39. Pamuybuyen (legend)

40. Bangsi (flute)

41. Subing (jew’s harp)

42. Gitgit (lute)

43. Agong (gongs)

44. Kalutang (sticks)


MUSIC TEACHING GUIDES 6: Music of Palawan


II MODULES 6: Music of Palawan






Performs examples of Philippine music, alone and with others, with appropriate tone, pitch,


Analyzes an example of Philippine folk music from Palawan and describes how the musical
elements are used.

Explains the distinguishing characteristics of representative Philippine folk music from Palawan
in relation to history and culture of the area.

Analyzes the relationship of functions of Philippine music from Palawan to the lives of the
people.

Sings accurately representative folk songs from Palawan alone and / or with others.

Performs on available instruments music from Palawan alone and / or with others.

Palawan.

Explores ways of producing sounds on a variety of sources that would simulate the sound of
instruments being studied.


VI PRIOR SKILLS & ASSESSMENT – Have the students fill up the K-W-L chart on the music of
Mindoro.

VII CONTENT/TOPIC

 Vocal Music: Bagit, Kulial (Songs), Tultul (Epic chant), Ulit (Shamanic chant)


 Instrumental Music: aruding (Jew’s harp), babarak (ring flute), suling (banded flute), basal
(gong), kusyapiq (lute), pagang (bamboo zither)

 Cultural Context (History and Traditions): Soundscape, Music suggesting/representing elements
of nature, Epics

 Composition: Bird songs, Kulial songs, Epics (i.e. Kudaman)

 Social Functions: Ritual Music, Music for expressing contrasting emotions, Music for work, Music
for entertainment

 Performance Styles / Techniques: Onomatopeia, Bagit Bird Scale (no half steps) and Kulial Scale
(with half steps), Magibut (playing together), Karang (Sung-Spoken dialogue), Lumbaga
(Shamanic chant about the voyage of the soul)

a. CONCEPT MAP

•Nature •Kulial
•Interaction among •Epics
groups •Instruments
•Language
Socio-
Musical
historical
Forms
Context
The Music of Palawan

Musical
Issues
Context
•Cultural •Music in Ritual
Preservation
•Soundscape
•Sustainable Eco-
Tourism •Creativity

b. ACTIVITIES & STEPS/ PROCEDURE

1. Have the students view the picture of the Underground River and imagine the sounds heard
within and outside the Underground River.

2. Group Activity: In groups of five per group, imagine the sounds heard within and outside of the e
Underground River and recreate the soundscape using vocal improvisation. Go around and
select three groups who will perform their improvisations in class.


3. Ask the students to do a K-W-L chart of the music of Palawan.

4. Listen to musical examples from the resources segment of this module. As the students listen,
have them view the pictures in the student guide or project a slideshow from
http://www.scribd.com/doc/26842427/Palawan-Music or
http://wpu.edu.ph/tautbato/arts/gallery-template.html

5. Group the students into five per group. Have them read the articles on Palawan music on the
readings segment. As a group, complete the concept map using information and insights
understood from the readings.

6. Listen to an example of a kulial song from the recording resources segment. Read the guide
questions for listening and listen to the kulial song once more.

7. Discuss the students’ answers to the guide questions. The music may be played once more after
all the questions have been answered.

8. Pair the students and ask them to compose their own kulial using the C major scale. They may
use lyre or recorder/bamboo flute as melody instruments. Explain the rubrics for composition
and performance and move around to guide the students as they compose. Notation can be
traditional symbolic (notes) for advanced students or non-traditional using letters on top of the
lyrics for beginning students.

9. Have the students perform their own eight-line kulial vocally and instrumentally using the lyre
or bamboo flute/recorder.

10. Extension activity: Using the Palaw’an and Tagbanua alphabet, have the students decode their
kulial on the table given in the student guide.

VIII SUMMATIVE ASSESSMENT –

Rubrics for Simple Notated Musical Work

Basic: Incomplete composition, not legible with some of the required musical elements
Developing: Basically legible with half of the required musical elements
Approaching Proficiency: Creative , legible, most musical elements complete
Proficient: Highly creative, most legible, complete required musical elements
Rubrics for Performance of Creative Work

Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing and dynamics with
little or no reference to style and context
Developing: Focused tone but inconsistent in extreme ranges , some repeated errors in rhythm
score/teacher.


music score.


Readings and Resources:
Palawan Provincial Government. This is Palawan: The New Frontier.
De Leon, Felipe Jr. “Gawad Manlilikha ng Bayan MASINO INTARAY and the Basal and Kulilal Ensemble”
http://web.archive.org/web/20060716025744/http://www.ncca.gov.ph/about_cultarts/cultprof
ile/gamaba/intaray.php
The Arts of Tau’t Bato http://wpu.edu.ph/tautbato/arts/gallery-template.html (article and video)
Revel, Nicole M. (2007). Palawan Soundscape. SOCIAL SCIENCE DILIMAN (January-December 2007) 4:1-
2, 78-90
http://journals.upd.edu.ph/index.php/socialsciencediliman/article/viewDownloadInterstitial/12
38/1273
Revel, Nicole M. (1996). Kudaman: An Oral Epic in the Palawan Highlands. Oral Tradition, 11/1 (1996):
108-132.
http://www.scribd.com/doc/26842427/Palawan-Music (Powerpoint Presentation)
(The Vanishing Batak Tribe)http://www.omniglot.com/language/articles/vanishingbataks.php

Recordings / Videos:
http://www.youtube.com/watch?v=M7a-Hh6VPuc&feature=related (kulial / symbolic lovesong)
http://www.youtube.com/watch?v=zytxR8X8E9Q&feature=related (basal / gong and drum ensemble)
http://www.youtube.com/watch?v=QGhnUjYvcMU&feature=related (babarak / ring flute)
http://www.youtube.com/watch?v=k1QTjPLRb6k&feature=related (aruding / Jew’s harp)
http://www.youtube.com/watch?v=2dR1e7BGFUo (Kudaman epic excerpt)
http://www.youtube.com/watch?v=Zaf18Y9jVuI&feature=related (dance theatre)



Voice Instruments
Mindoro:
Mindoro: Subing / Jew's harp
Igway / Song Gitgit / lute
Marayaw / Spirit song Agung / gong
Bangsi / flute

Palawan:
Palawan:
Aruding / Jew's harp
Kulial / Song
Kusyapiq / lute
Ulit / Spirit song
Basal / gong
Suling, Babarak / flute

Comparative Glossary of Mindoro and Palawan Music. Copyright by the author.


MUSIC TEACHING GUIDES 7: Music of the Visayas


II MODULES 7: Music of the Visayas




Performs examples of Philippine music, alone and with others, with appropriate tone, pitch,
Analyzes an example of Philippine folk music from the Visayas, and describes how the musical
elements are used.
Visayas, in relation to history and culture of the area.
Analyzes the relationship of functions of Philippine music from the Visayas to the lives of the
people.
Sings accurately representative folk songs from the Visayas, alone and / or with others.
Performs on available instruments music from the Visayas, alone and / or with others.
the Visayas.
VI PRIOR SKILLS & ASSESSMENT

Have the students fill up the
glossary from Module 3-4.

VII CONTENT/TOPIC / CONCEPT MAP

Folk Music of the Visayas
a. Balitao (Sung debate), Pastores (Christmas) , Kanta (Ballad, Lullaby, Courtship)
b. Instrumental Music: Rondalla, Tultogan
c. Cultural Context (History and Traditions)
d. Composition
e. Social Functions


f. Performance Styles / Techniques
•Christianity
•Music in Ritual •Balitao
•Composo
•Tayuyon
•Rondalla
Socio-
Musical
historical
Forms
Context

The Music of the Visayas

Performance Musical
Techniques Context
•Tayuyon - •Paraliturgical
Expression in folk music
song, dance and
music

ACTIVITIES & STEPS/ PROCEDURE

1. Have the students view pictures or videos of different festivals in the Visayas such as the Sinulog of
Cebu, Dinagyang of Iloilo, Maskara of Bacolod and Ati-Atihan of Aklan. Ask them why such festivals are
held and how music enhances the festival. Ask, “Aside from music in festivals, are you familiar with the
folk music of the Visayas?”

2. Show a map of the Visayas and identify the places where these festivals occur. Ask the students what
they remember in terms of the Visayas in Philippine history. The article written by Alice Magos can be
used as a source and reference.

3. Listen to examples of Visayan vocal and instrumental music from the recordings section of the
module. Have the students answer the following questions:

 In your own opinion, what is the message and function of the music?

 How are the musical elements used to put the message across?

4. Have the students read the summary of Cainglet on characteristics of West Visayan song
http://digital.library.adelaide.edu.au/dspace/bitstream/2440/20676/1/09phc135.pdf.

5. Listen to Visayan musical examples and point out the musical characteristics enumerated by Cainglet.

6. Group the students and using the resources segment of the module, have the students study the
notated examples of balitao by Gutierrez and the recordings in the resources segment.


7. Practice the balitao per group with chordal accompaniment on the guitar or rondalla or keyboard.
Give time for group practice and supervise the groups as they practice their assigned songs.

8. Perform the balitao per group as a culminating activity.

9. Have the students reflect on their performance by asking the questions:

How was my performance as a whole? How can my performance be improved?



Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing and dynamics with
minimal sensitivity to style and context
Developing: Focused tone but inconsistent in extreme melodic ranges, some repeated errors in
rhythm and pitch, consistent phrasing, discernible dynamics, some nuances in style as suggested
by the score/teacher.
Approaching Proficiency: Focused and clear tone in normal melodic ranges, accurate rhythm and
secure pitch with isolated errors, accurate and consistent phrasing, accurate dynamics, with
more nuances in style as suggested by the score/teacher.
sensitive phrasing and obvious dynamics, with creative nuances to style in response to music
score.


Department of Education (1966). Philippine Folk Dances and Songs. Manila: Bureau of Public Schools, pp.
130, 187, 215.

Eugenio, Damiana (2007). Philippine Folk Literature Anthology. Quezon City: University of the Philippines
Press.

Gutierrez, Maria Colina. The Cebuano Balitao and how it mirrors visayan culture and folk life.
http://nirc.nanzan-u.ac.jp/publications/afs/pdf/a128.pdf

Hiligaynon Literature: http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-

Muyco, Christine. Tayuyon Music of the Panay Bukidnon of Western Visayas. National Commission for
Culture and the Arts.

National Commission for Culture and the Arts (2001). Philippine Cultural and Artistic Landmarks of the
Past Milllenium. Manila: National Commission for Culture and the Arts.


Peters, Joseph, ed. (2003). Sonic Orders in ASEAN MUSIC Volume 1. Singapore: ASEAN Committee on
Culture and Information, pp. 345-348, 365-366, 369, Track 25 - Pastores (Bohol), Track 28 –
Balitao (Bohol).

Scott, William Henry (1992). Looking for the Prehispanic Filipino. Quezon City: New Day Publishers, pp.
104-156.

Recordings:

Composo 2011 Competition: http://www.youtube.com/watch?v=299lMxuDhuo&feature=related


Peters, Joseph, ed. (2003). Sonic Orders in ASEAN MUSIC Volume 1. Singapore: ASEAN Committee on
Culture and Information, pp. 345-348, 365-366, 369, Track 25 - Pastores (Bohol), Track 28 –
Balitao (Bohol).

Rondalla performance of Rosas Pandan: Traditional Forms of Music: http://www.ncca.gov.ph/about-
culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=161

http://philippineculture.ph/filer/toledo-cebu/Spanish-influences-in-song.pdf

Visayan Balitaw: Arimunding-munding -Jovita Fuentes (circa 1930)
http://www.youtube.com/watch?v=jDdngigleUA

Visayan Folk Song - Rosas Pandan performed by the Loboc Children’s Choir:
http://www.youtube.com/watch?v=VWcOxwhWkUw&feature=related

http://www.youtube.com/watch?v=v6PVPSecsek&feature=related



Voice Instruments
Mindoro:
Mindoro: Subing / Jew's harp
Igway / Song Gitgit / lute
Marayaw / Spirit song Agung / gong
Bangsi / flute
Palawan:
Aruding / Jew's harp
Palawan:
Kusyapiq / lute
Kulial / Song
Basal / gong
Ulit / Spirit song
Suling, Babarak / flute

Visayas: Visayas:
Balitao, Composo / Song Subing / Jew's harp
Tayuyon / Song and dance Ah gong / gong
Gitara / lute


MUSIC TEACHING GUIDES 8: Instrumental Music of the Visayas


II MODULE 8: Music of the Visayas



The module is an introduction to selected instrumental music from the Visayas such as the
Binanog Music Ensemble of Panay Bukidnon, Tultogan Bamboo of Maasin, Iloilo and Rondalla of Silay-
on, Negros. The module includes listening to and viewing of said instrumental ensembles. Making
improvised instruments from bamboo materials and/or playing simple folk songs on rondalla
instruments will culminate the learning experience.

PERFORMANCE STANDARD

Analyzes an example of Philippine folk music from the Visayas, and describe how the musical
elements are used.
Visayas, in relation to history and culture of the area.
Analyzes the relationship of functions of Philippine music from the Visayas, to the lives of the
people.
Sings accurately representative folk songs from the Visayas, alone and / or with others.
Performs on available instruments music from the Visayas, alone and / or with others.
the Visayas.

VI PRIOR SKILLS & ASSESSMENT

Have the students fill up the glossary from Module 5-6.


VII CONTENT/TOPIC

Folk Music of the Visayas
 Instrumental Music: Rondalla, Tultogan, Binanog
 Cultural Context (History and Traditions): Music in Ritual, Music in Entertainment
 Composition: Bird Dance Binanog (Panay Bukidnon)
 Social Functions: Music for Celebration, Dance, and Ritual
 Performance Styles / Techniques: Oral tradition, Rhythmic Modes of Binanog (Panay), Chordal /
Contrapuntal accompaniment of Rondalla
g. Concept Map
•Elemental •Tultogan
Music •Tayuyon
•Spanish •Rondalla
influences Socio-
Musical
historical
•Music in Context
Forms
Ritual

Performance Musical
Techniques Context
•Oral tradition •Music for
•Rhythmic Celebratio
modes n and
•Chord, Counter Ritual
point

ACTIVITIES & STEPS/ PROCEDURE

1. Introduce the students to the idea of elements in nature and in sound.
2. Ask the class to make a vocal soundscape of the given elements through a vocal improvisation.
3. Listen to excerpts of rondalla, tultugan and binanog from the resources segment. Ask the
students to fill out the chart on elemental music. Discuss their answers.
4. Connect the previously listened musical excerpts to the pictures and connect the sound heard
with the picture of the ensemble.
5. Read the program notes and reading materials on the tultogan (Iloilo Festival), rondalla (Santos)
and binanog (Muyco) found on the resources segment of the module.
6. MUSICAL MAPPING: Assign musical examples for each student (rondalla, tultogan, binanog) and
have them make a musical map of what they heard.
7. Group the students according to the musical example they listened to and discuss their answers
with their group mates.
8. APPLICATION: Discuss the rubrics for performance / product. Improvising tultogan/binanog
instruments or using rondalla instruments, have the students practice the music assigned to
them.
9. CULMINATING ACTIVITY: Perform the musical ensemble assigned to each group.


10. Ask the students to fill out the concept map of what they have learned per group.
11. To end the session, ask the students to fill out their journal entry regarding their performance.
How was my performance as a whole? How can my performance be improved?



shows minimal sensitivity to style and context
Developing: Focused tone but inconsistent in extreme melodic ranges, some repeated errors in
rhythm and pitch, consistent phrasing, discernible dynamics, some nuances in style as suggested
by the score/teacher.
Approaching Proficiency: Focused and clear tone in normal melodic ranges, accurate rhythm and
secure pitch with isolated errors, accurate and consistent phrasing, accurate dynamics, with
some nuances in style as suggested by the score/teacher.
music score.

Department of Education (1966). Philippine Folk Dances and Songs. Manila: Bureau of Public Schools, pp.
130, 187, 215.
Binanog Dance: http://mybeautifuliloilo.blogspot.com/2012/01/binanog-festival-of-lambunao-
capturing.html
Eugenio, Damiana (2007). Philippine Folk Literature Anthology. Quezon City: University of the Philippines
Press.
Gutierrez, Maria Colina. The Cebuano Balitao and how it mirrors visayan culture and folk life.
http://nirc.nanzan-u.ac.jp/publications/afs/pdf/a128.pdf
Hiligaynon Literature: http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-
Iloilo Festivals: http://festival.nfo.ph/philippine-festival/december/tultugan-festival-drum-bamboo-
maasin-iloilo/
Maceda, Jose. “Means of Preservation and Diffusion of Traditional Music: The Philippine Situation” in
Asian Music 2:1, 14-17. http://www.jstor.org/stable/833808?seq=2
National Commission for Culture and the Arts (2001). Philippine Cultural and Artistic Landmarks of the
Past Milllenium. Manila: National Commission for Culture and the Arts.
Santos, Ramon. http://cuerdasfestival.com/about-the-festival.php?pid=58
Scott, William Henry (1992). Looking for the Prehispanic Filipino. Quezon City: New Day Publishers, pp.
104-156.
http://festival.nfo.ph/philippine-festival/december/tultugan-festival-drum-bamboo-maasin-iloilo/
Recordings:


Rondalla playing Rosas Pandan: Traditional Forms of Music: http://www.ncca.gov.ph/about-culture-and-
arts/articles-on-c-n-a/article.php?igm=1&i=161
http://philippineculture.ph/filer/toledo-cebu/Spanish-influences-in-song.pdf
http://www.youtube.com/watch?v=v6PVPSecsek&feature=related
Tultogan Competition Maasin


• Bamboo and Drum
Tultogan Ensemble

Rondalla • Plucked Lute Ensemble

• Gong, Drum, Wooden
Binanog Percussion Ensemble


Gr 7 music teacher's guide

More Related Content

What's hot

Viewers also liked

Similar to Gr 7 music teacher's guide

More from S Marley

Recently uploaded

Gr 7 music teacher's guide